Back catalogue: Funk/Reissues

Review: The third volume of the AfroColombia Remix series merges African and Colombian sounds with contemporary electronica. It's a collaboration between Colombian labels Galletas Calientes and Palenque Records that celebrates Palenque's 20+ years of activism and Galletas Calientes' two-decade legacy while honouring the late Abelardo Carbono with a remix of his track 'La PiNa Madura' by Voilaaa - it's a standout here with hints of funk, soul and disco all bringing the sunshine. The compilation also reinterprets Nigerian Igbo Highlife and Ekobe music thanks to producers Captain Planet, Uproot Andy and Caribombo. They bring new, funky energy to timeless classics while preserving the original cultural essence.

Review: Abaete's self-titled 1977 LP remains one of Brazil's deepest cult treasuresian obscure gem of Bahian jazz-funk samba that now sees long-overdue reissue. Recorded during a creative high for Bahia's music scene, this sole full-length from the vocal trio blends masterfully layered harmonies with moody synths, groove-driven percussion and North Brazilian rhythmic signatures. There's almost no background info on the group, but the music speaks volumes. Highlights like 'O Rei Do Calang (Calangotango)' and 'Toca Nicanor' ripple with syncopated urgency, while 'Canto Sul' and 'Por Uma Razo De Amor' float with breezy melodic finesse. Mixed by Waldir Lombardo Pinheiroiknown for work with Tom Ze and Zeca do Tromboneithe album is full of freewheeling arrangements, grainy funk textures and subtle psychedelia. It's no surprise the trio also penned tunes for greats like Clara Nunes and Elza Soares. A rare window into an experimental chapter of Brazilian popular music, rediscovered in all its radiant groove.

Review: From Sekondi-Takoradi, Ghana, Gyedu-Blay Ambolley returns with another simmering display of his self-styled Simigwa-funk-part highlife, part jazz, part proto-rap, all unmistakably his own. Still sharp at 77, Ambolley commands a tight ensemble through groove-led declarations like 'Wake Up Afrika' and 'U Like Or U No Like', riding swung basslines and crisp horn arrangements with the flair of a master bandleader. 'God E See You' finds him slipping into a smoky, Afro-soul register, while 'New Simi Rapp' stretches out into hypnotic territory, led by flutes, baritone sax and rhythmic mantras. 'Ochoko Bila' and 'If You Want To Know' are more playful cuts, full of bounce and quick-fire wisdom. The production, split between Ghana and the Netherlands, balances live grit with rich detail-everything breathes, nothing is wasted. As ever, Ambolley's voice is both storyteller and instrument: loose, commanding, and deeply rooted in diasporic sound. This is music that moves and means.

Review: Reggie Lucas assembled Sunfire in the early 80s, drawing from a deep well of experience as a guitarist, producer and songwriter behind era-defining hits for Stephanie Mills and Madonna. With Raymond Calhoun and Rowland Smith circum-pleting the trio, Sunfire's self-titled LP distilled their collective pedigree into a lean set of slick, synth-laced funk, whose rubber sound is as taut as liquid elastane. 'Young, Free & Single', their best known track, leads the charge with infectious bounce, flanked by 'Feet', 'Step In The Light' and 'Keep Rocking My Love', breaststroking between boogie, electro and disco-soul, all neatly fastened by the drum machine. Produced just before Lucas' work on Madonna's debut, the record glows with rawhide studio sheen and radio-ready confidence. This limited edition repress comes to just 750 copies on yellow "flamed" vinyl.

Review: Analog Africa has repressed the highly valued and long since sold-out Congo Funk! Sound Madness From The Shores Of The Mighty Congo River: Kinshasa/Brazzaville 1969-1982. It is a compilation that superbly shows off the raw energy and funkiness of the Congolese rumba scene. This is the country that spawned such as legendary bands as African Jazz, OK Jazz and African Fiesta and it is said that the concert ahead of the legendary Rumble in the Jungle boxing match between Muhammad Ali vs George Foreman is what really set young hopefully musicians on their paths, after they saw James Brown play live. The story of those artists and the labels they released on in the ensuing years is what is told so well here across four sides of vital wax.

Review: ***B-STOCK: Sleeve damaged, slight surface marks on record***


This unique album is a bold reimagining of the iconic sweet-soul group, spearheaded by Delfonics' lead vocalist William Hart and infused with Adrian Younge's unique, hip-hop-informed perspective. While the album features elements familiar to Delfonics fans, such as the electric sitar, french horn and lush string arrangements, Younge's approach departs from traditional production, offering a more experimental and idiosyncratic take on the genre. Drawing influence from the eccentric strains of soul and r&b adored by crate diggers, Younge's arrangementsiincorporating harpsichord, glockenspiel and electric sitariimbue the album with a sense of campy psychedelia, yet manage to avoid veering into kitsch. Hart's crystal-clear falsetto remains a cornerstone of the album, with his voice serving as a bridge between the past and Younge's modern vision. Though much of the album sees Hart performing solo, a departure from the layered harmonies of classic Delfonics, it feels organic and fitting for the material. The pairing of Hart's legendary voice with Younge's analog-driven production creates a sound that feels both nostalgic and fresh. Tracks like 'True Love' and 'Stand Up' show how much care has been given to allow the original beauty to the focal point. A genius blend of old-school soul and modern sensibilities.